as featured on futurama 'Eggman' - ACOUSTIC version

Played over a still image of Matt Groenings great artwork, above is the full acoustic version of the ‘Eggman’ song as featured in episode ‘Fry am the eggman’.

It was on Eli’s first overseas tour in 2011, that he had the honour of contributing his quirky song ‘Eggman’ to classic cartoon Futurama. The song, which was included on 2012 EP, Cards are on the table'. It was originally inspired by a cartoon character painted by Ew, which in hindsight, was a perfect fit for the animators at Futurama.

Not long after screenings of the episode in the US and Australia, Eli was announced as a musical ambassador for The Line—an Australian Government campaign promoting respectful relationships among young people.

He then set off on a national tour, with the first single from his debut album coming in at number one on the Australian community radio charts and enjoying three weeks running in the top spot.

The episodes statistics, production info and fun trivia can be read at:
http://www.theinfosphere.org/Fry_Am_the_Egg_Man

Below are various symbols and perceptions that can take you further into the world of Eggman.

THE FIRST FOUR SYMBOLS BELOW FORM EGGMANS IMAGE: EGG, SKELETON, HEART AND MAN.

EGG: A great many prehistoric tombs in Russia and Sweden have revealed clay eggs which had been left there as emblems of immortality. In the language of Egyptian hieroglyphs, the determinative sign of the egg represents potentiality, the seed of generation, the mystery of life. This meaning persisted among the alchemists, who added explicitly the idea that it was the container for matter and thought.In this way was the transition effected from the concept of the egg to the EGG of the World, a cosmic symbol which can be found in most symbolic traditions---Indian, Druidic, etc. The vault of space came to be known as an Egg, and this egg consisted of seven enfolding layers---betokening the seven heavens or spheres of the Greeks.The Chinese believe that the first man had sprung from an egg dropped by Tien from heaven to float upon the primordial waters.The Easter egg is an emblem of immortality which conveys the essence of these beliefs. The golden egg from which Brahma burst forth is equivalent to the Pythagorean circle with a central point (or hole). But it was in Egypt that this symbol most frequently appeared.

Egyptian naturalism--- the natural curiosity of the Egyptians about the phenomena of life---must have been stimulated by the realization that a secret animal-grwth comes about inside the closed shell, whence they derived the idea, by analogy, that hidden things (the occult, or what appears to be non-existent) may actively exist. In the Egyptian Ritual, the Universe is termed the 'egg conceived in the hour of the Great One of the dual force'. The god of Ra is displayed resplendent in his egg. An illustration on papyrus, in theEdipus AEgyptiacus of Kircher, shows the image of an egg floating above a mummy, signifying hope of life hereafter. The winged globe and the beetle pushing its ball along have similar implications.

The Easter time custom of the 'dancing-egg', which is placed in the jet of a fountain, owes its origin, according to Krappe ( who refers only to the Slavs), to the belief that at that time of the year the sun is dancing in the heavens. The Lithuanians have a song which runs as follows:'The sun dances over a mountain of silver; he is wearing silver boots on his feet'.

SKELETON: In the majority of allegories and emblems it is the personification of death. In alchemy it is a symbol of the colour black and of the putrefaction or 'disjunction' of the component elements.

HEART: The yoke of physical and spiritual being, the heart represents the "central wisdom of feeling as opposed to the head-wisdom of reason". Compassion and understanding, life-giving and complex, is a symbol for love. In Egypt, it represented life-essence, as the mummified had their heart preserved, first part of man to live, last to die. The central point (with the brain and sexual organs being the endpoints) of the vertical scheme of the human.

MAN: The myth of cosmic man was used in all traditional civilizations to represent universal life. Man was portrayed as carrying the universe (like Atlas in the Greek legend), as a cosmic pillar, supporting heaven and earth. Man is a microcosm, a reflection of the universe. Man himself is symbolized by that which is phallic. The image of a man must also be interpreted in context with other symbols, such as the tools or weapons he is holding. In some cases, this image was intended to be a representation of the bearer of the arms and was later borne by descendants of the original bearer. An old man is a symbol of tradition, contemplation, and justice.

CARD: there are fifty-two cards in a deck, one for each week of the year. The thirteen cards in each suit can represent the lunar months in a year. The two red suits can indicate the warm seasons and powers of light the two black suits then representing the cold seasons and the powers of darkness. All four designs on the cards can be symbols of life: the spade, a leaf; the heart, the center of life; the diamond, the feminine principle; the club, a masculine principle.

Club - power and command - 3-fold aspect of life, winter - agriculture, government

WATER: Water popularly represents life. Often associated with birth, fertility.Primoidial Waters.

TOOTHACHE: Can symbolize attack and defense, relating to the ability to do things for oneself or handle tasks in one's own life and the ability to articulate and express oneself

GOLD: In Hindu doctrine, gold is the 'mineral light'. According to Guenon, the Latin word for gold---aurum---is the same as the Hebrew for light---aor. Jung quotes the delightful explanation offered by the alchemist Michael Maier in De Circulo Physico Quadrato to the effect that the sun, by virtue of millions of journeys round the earth (or conversely) has spun threads of gold all around it.Gold is the image of solar light and hence of the divine intelligence. If the heart is the image of the sun in man, in the earth it is gold. Consequently, gold is symbolic of all that is superior, the glorified or 'fourth state' after the first three stages of black, (standing for sin and penitence), white (remission and innocence) and red (sublimation and passion). Everything golden or made of gold tends to pass on this quality of superiority to its utalitarian function. Chrysaor, the magic sword of gold, sybolizes supreme spiritual determination.

POST: Can represent the idea of receiving communication from someone or something, whether you want it or not. Expecting, fearing, or hoping to hear what you want to hear.

FANTASY: Whats your dream, your want, need, or desire for something other than the actual object or experience at hand. Also consider what the object or experience desired represents.

GRAPE: Grapes, frequently depicted in bunches, symbolize at once fertility (from their character as a fruit) and sacrifice (because they give wine---particularly when the wine is the colour of blood).
In baroque allegories of the lamb of god, the lamb is often portrayed between thorns and bunches of grapes.

VINE: Just as the grape has an ambivalent symbolism, pertaining to sacrifice and to fecundity, so wine frequently appears as a symbol both of youth and of eternal life. In the earliest times, the supreme ideogram of life was a vine-leaf. According to Eliade, the mother-goddess was known by the primitives a 'the goddess of the vines', representing the unfailing source of natural creation.

TIME: A measure, dissection, symbol to symbol point to point, pursual in time, being, no time, eternity, no time like the present, now.

TRIP: Journey, a phase, process or project in life. Progression, self improvement, evolution, or other long-term dynamics in life.
Tripping or stumbling while walking can represent a sudden challenge or obstacle or you sabotaging yourself.

IMAGE: A pattern of forms and figures endowed with unity and significance. It is implied in the theory of form---and is true, also, of melody--- that the whole is greater than the sum of its parts being, in a sense, their origin and justification. If for Sartre the image is a degraded awarness of knowing, for other psychologists the image is, in fact, the highest form that knowing can assume, for all knowledge tends towards a visual synthesis. Also to be borne in mind is the theory propounded by Sir Herbet Read in Icon and Idea, according to which every creation in the visual arts---and in fact every kind of pattern---is a form of thought and therefore corresponds to an intelligible mental concept. This leads us towards an intuition of the world as a vast repertoire of signs that await being 'read'.

Image (pictorial): Every pictorial creation gives rise to an image whether imitative or invented, with or without figuration. Alongside the symbolic meaning which subjects or figures may have, they possess, in a pictorial image, a symbolic back ground: spatial zones, colours, geometric or non-geometric forms, predominant axes, rhythms, composition and texture. In art such as 'informalsim', expression and symbolization are achieved through texture and lineal rhythm inparticular, with colour taking a secondary role. To find the meaning of a given work, one must think in terms of putting its elements in the order of their importance, assessing each kind of element within the pictorial system. Exactly the same thing occurs in architecture and sculpture.

LIGHT: Light is one of the most universal and fundamental symbols. It is the spiritual and the divine, it is illumination and intelligence. Light is the source of goodness and the ultimate reality, and it accompanies transcendence into the Nirvana of Buddhist doctrine. It is the sun, and it is the avenger of evil forces and darkness. Light is knowledge. Purity and morality are connected terms as well. The masculine principle of evolution is symbolized through light. Cosmic energy, creative force and optimism are all related to light.